• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2013년도 춘계학술대회
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• pp.179-180
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• 2013

본 연구는 미술관의 미술프로그램을 통하여 문화시설 이용도를 활성화함으로서 지역사회 문화예술의 전반적이고 지속발전을 도모하기 위한 것이다. 이것은 문화예술을 통한 시민들의 삶의 만족도를 제고함과 동시에 이 사회에 잠재되어 있는 문화예술의 적극적 향유계층을 발굴하고 장래 부산의 문화예술 발전에 기여하는 것을 목적으로 한다. 본 연구는 문헌자료 분석과 미술관에서 실제 이루어진 미술전시 연계 프로그램에 대한 분석으로 이루어진다. 이를 위해 일차로 선행연구를 토대로 문화예술 및 미술관 교육의 기본적인 개념을 조사하였고, 부산의 문화, 여가에 대한 사회지표 조사 자료를 분석하였다. 이를 기초로 현재 문화예술 시설의 활용도를 분석하고 미술관 전시 연계 프로그램을 통해 지역사회 문화예술 발전 방안을 제시 하였다. 과거의 미술관이 예술품을 수집, 보존, 전시하는 역할에 머물러 있었음에 반해 현대의 미술관은 기존의 기능에 더해 교육적 역할이 강조되고 있다. 또한 오늘날 미술관은 문화소외계층들에게 다양한 문화프로그램을 통해 부담없이 문화생활을 향유하도록 하는 공간으로서 그 사회의 특정 전시물이 아닌, 그것이 위치한 지역사회의 전반적인 문화 수준을 향상시킬 수 있는 거점으로서의 역할이 기대되고 있다.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.231-235
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• 2023

Currently, China's urban landscape is undergoing a gradual shift from incremental development to stock renovation. Furthermore, the planning and development objectives of urban communities have evolved from solely focusing on physical space construction to promoting sustainable development within a humanistic society. The current approach to community planning and construction, which emphasizes a singular dimension of residential life, overlooks the multifaceted aspects of community life and production. This oversight leads to a lack of attention to interpersonal relationships within the community, difficulties in establishing a connection between people and their environment, and numerous other issues. Consequently, this paper seeks to redefine the concept of sociality within community spaces by considering the continuum of time and space within communities. It aims to delineate the roles of "power" and "rights" within the community context, with a particular focus on everyday life, in order to reevaluate strategies and methods for fostering dynamic community development.

• 지역사회간호학회지
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• 제24권3호
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• pp.323-331
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• 2013

Purpose: The study attempted to examine whether the group art therapy using a collage medium and reminiscence therapy prevented or reversed dementia, prevented depression, and improved the quality of life of elderly women at high risk for dementia in community public health centers. Methods: As a quasi-experimental study with a non-equivalent control group, this study used a pre-post design. The subjects consisted of a random sample of women over 65 years of age who had been registered as being at high-risk for dementia at the Public Health Center of the G City, and the Dementia Support Center. Of these elders, 30 were assigned to the experimental group and 33 to the control group. The intervention was conducted twice a week for 5 weeks. $x^2$-test, t-test, Wilcoxon test were used to analyze the data. Results: After the program, cognitive function, depression, and quality of life were significantly better in the experimental group than in the control group. Conclusion: The group art therapy can be utilized in community-based nursing practices by identifying and registering those who are at high risk for dementia. The results should prove useful when designing future intervention strategies targeting elderly individuals residing in communities.

• 지역과문화
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• 제7권4호
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• pp.1-20
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• 2020

본 연구에서는 대전시 공공미술 프로젝트 <무궁화 꽃이 피었습니다> 사례연구를 통하여 열악한 주거환경에서 지역공동체를 만들기 위한 공공미술 프로젝트 운영방법을 모색한다. 문헌연구를 바탕으로 지역공동체를 모아내는 공공미술의 세 가지 측면으로 시각성, 특수성, 소통성을 도출하였고, 이러한 요소들을 기반으로 방문자, 예술가, 지역주민, 기획자 등 연구대상 이해관계자를 심층 인터뷰하여 사례를 분석하였다. 분석결과로 첫째, 주민들의 재활용 쓰레기로 함께 만든 공공미술은 시민과 환경을 효과적으로 조화시키고 통합하고 있었다. 둘째, 프로젝트의 일환으로 운영되는 갤러리는 시민들이 지역의 역사와 상징을 이해하게 함으로써 지역 정체성 강화에 상당한 역할을 하고 있었다. 셋째, 지역공동체와의 소통공간으로 마련된 공방은 시민들의 자발적인 공동체 참여를 활성화하는 데 일조하고 있었다. 상대적으로 기관과의 연구 협력에 관한 인식은 크게 부각되지 않았는데, 이는 열린 공동체라는 가치적 측면에서, 더 다양한 예술 형식에 열려있는 자세로 다른 지역과의 문화적 연계를 구축하고 지속적인 협력이 필요하다는 점을 시사하고 있다.

• 지역사회간호학회지
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• 제15권2호
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• pp.255-265
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• 2004

Purpose: The purpose of this study was to investigate the effects of group art therapy on old adults' powerlessness, loneliness. depression and self-image (for 55-year old or older people). Method: An experimental group of 10 persons were given group art therapy for 1 hour per week for 8 weeks. Results: The result of this study showed that group art therapy is effective in decreasing older adults' powerlessness (p<0.05) and their loneliness and depression (p<0.05). However, there was no significant difference in the score of loneliness (p>0.05). A tree test was executed to analyze self-image change. and the result of the tree test showed a significant change in the tree shape. which mean a significant positive change in self-image. Conclusions: The scores of older adults' powerlessness, loneliness and depression were lowered by the group art therapy. Therefore it is thought that group art therapy program was an effective intervention for improving older adults' quality of life. Thus, this study suggests to apply group art therapy as a supportive nursing intervention in order to manage powerlessness, loneliness, depression and self-image in old low-income adults.

• 미술이론과 현장
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• 제16호
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• 미술이론과 현장
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• 제4호
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• pp.7-32
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• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• 한국과학예술포럼
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• 제37권3호
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• pp.365-376
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• 2019

현재 우리 도시공간은 정형화된 프랜차이즈 업체, 각 지역마다 유사한 건축물의 형태, 자치구 통합디자인으로 인해 획일화된 가로시설물, 트랜드 흐름 속에서 개별적 매력을 상실한 각종 조형물 등으로 구성되어 있다. 본 연구는 대부분 유사한 가로환경으로 지역 문화의 정체성을 찾아보기 어렵고 장소성이 사라진 도시환경에 커뮤니티퍼니처(Community furniture) 개념을 도입하고자 하였다. 본 연구목적은 보편적 편의성과 기능성 우선으로 다루어져온 버스쉘터가 지역 정체성이 반영되어 "도시구성의 필요시설물로 확장하는 공공미술화(Community Art)된, 일정지역의 특정 정체성을 함축하는 공공시설물을 총칭" 하는 '커뮤니티퍼니처'의 개념을 제시하고자 한다. 이를 위해 지역문화유산 스토리텔링 과정을 살피고 버스쉘터의 국내외 사례를 분석한 뒤 커뮤니티퍼니처 디자인 기본원리 적용방안을 이행하였다. 연구결과 첫째, 버스쉘터가 지역 관련 이미지를 함축하는 스토리텔링 요소를 시각적으로 전달함으로써 정보, 문화, 예술부문의 융복합적 시너지효과를 기대할 수 있다. 둘째, 공간과 장소의 특성 및 지속가능한 디자인 개념이 지역의 장소적 특성을 담아내는 동시에 주변 환경과 조화됨으로써 도시환경 디자인 활성화를 위한 방향을 제시할 수 있을 것이다. 셋째. 지역 공동체의 미의식과 지역성이 반영된 버스쉘터는 새로운 가로공간을 구성하며 특색 있는 장소 구현이 가능할 것으로 기대한다.

• 미술이론과 현장
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• 제9호
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• pp.7-31
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• 2010

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano's human rights and as a tool to recover the Chicano people's cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca's works, and the Balmy Alley Mural Environment project in San Francisco's Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

• 국제지역연구
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• 제20권4호
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• pp.205-225
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• 2016

최근 지역재생의 수단으로서 공공미술이 많은 지역에서 시행되고 있다. 문화를 통해 낙후된 지역에 활기를 불어넣는 것이 목적이다. 그러나 제도적으로 시행된 공공미술은 단발적인 행사에 그치거나, 규격화되고 획일화된 모습을 보이고 있다. 이러한 문제점의 보안정책으로 등장한 마을미술 프로젝트는 마을의 자산을 활용하고, 주민의 예술적 행위가 주된 요소이다. 이를 통하여 지역정체성이 강화되고, 공동체성을 회복하게 되었다. 또한, 마을미술 프로젝트를 계기로 삼아, 타 정책 및 사업과 연계를 통해 지역 활성화를 가져온 마을도 생겨났다. 이에 본 연구에서는 마을미술 프로젝트의 장소특정성을 통한 지역정체성 강화 및 공동체 회복 과정을 살펴보고, 마을미술 프로젝트를 통하여 지역재생 가능성을 모색해보고자 한다.